Here I have NFACOUS’ latest iem named NA20. Musicality focused, opposite of the priors that had been reviewed here. Disclaimer: NA20 is sent by NFACOUS in the name of AG Turkey tour. I sincerely thank both parties.
Specifications
• Driver: MC2L-100M Dynamic Driver (Dual Magnetic Circuit & Dual-Acoustic Chamber)
• Diaphragm: Beryllium-plated
• Housing Material: High-strength transparent polycarbonate + CNC-carved anodized aluminum faceplate
• Design: Maillard-style finish — matte transparency with clean metal accents
• Patented Tech: SRA (Selective Reflection Adjustment)
• Impedance: 32Ω
• Frequency Response: 9Hz–40kHz
• Sensitivity: 109dB/mW
• Distortion (THD): <1%
• Connectors: 0.78mm 2-pin
• Cable: High-quality 6N OFC (oxygen-free copper)
Unboxing NFACOUS NA20
The packaging keeps things minimal and efficient. A firm foam cutout secures the IEMs, while the accessories are tucked away without flash. It doesn’t try to impress with luxury—it wants you to get straight to the sound. And frankly, that’s the right call at this price point.
Box Contents__
• NA20 IEMs
• 6N OFC 3.5mm cable
• 4 pairs of MG42 silicone eartips (XS/S/M/L)
• User manual
The cable feels hardly solid, with no microphonics, and the eartips, while generic, are a key part of the tuning experience — more on that later.
Technicals of NFACOUS NA20
Despite being a single dynamic driver set, the NA20 performs with surprising precision. The MC2L-100M’s dual magnetic circuit provides great control over transients, and the dual-chamber design allows the soundstage to breathe more naturally than most single-DD units in this price range. Layering is stable and instrument separation is commendable — not razor-sharp but more than capable for casual-to-critical listening.
Overally Speaking
Tracks like Dire Straits – Live in Hammersmith show off its microdynamics well — from the audience’s right-rear claps to the rear-stage keyboard presence. It doesn’t resolve like a flagship, but it doesn’t gloss over anything either. Imaging is believable and immersive, especially with proper eartip seal. Detail retrieval sits at a satisfying level — just below analytical, but clearly above average for musical tuning
Bass
At first, the bass felt underwhelming — especially when using the stock medium-sized eartips. Listening to Whiskey in the Jar, I found myself subconsciously pressing the shells deeper into my ears in search of that missing rumble. It was a clear sign that seal and tip size were critical for the NA20. With the default fit, the bass lacked body and failed to fully engage. The sub-bass presence was especially lean, and while the midbass had some form, it wasn’t quite enough to carry the rhythm sections with confidence.
That all changed when I switched to large-sized tips. Suddenly, the low end gained depth, grip, and a sense of authority without spilling over. It didn’t turn into a bass cannon — and that’s not the goal here — but the warmth and weight felt appropriately rebalanced. On Gotan Project – Domingo, I could clearly distinguish the layered bass pulses supporting the rhythm while leaving space for the upper register instruments. It’s a clean, polite bass with a musical heart — responsive rather than overwhelming, and far more satisfying when the fit is dialed in.
Midrange
The midrange on the NA20 feels tastefully restrained yet emotionally present. Tracks like Many Shades of Black allowed vocals to gently float forward in the mix, neither dominating nor disappearing. There’s a slight recession around the lower mids, which creates space for instruments to breathe, but never to the point of making the sound feel hollow. Horns, strings, and acoustic instruments all had a natural timbre — not clinical, but organic and human. The tuning here doesn’t try to impress with razor-sharp edges; it’s about conveying mood and intent.
What impressed me most was how the vocals carried emotional nuance without artificial coloration. Jack White’s almost-desperate vibrato in Many Shades of Black was captured with enough grit and fragility to feel real. And in Bidanem, Cem Karaca’s voice soared and quivered with its usual expressive weight — no added shine, no unnecessary warmth. It’s that kind of midrange: not overly forward, but present enough to let the story unfold. With the right track, it reveals just how well this driver balances honesty with musicality.
Treble
The treble region is where the NA20 pulls back a bit, favoring a smoother, less aggressive presentation. Right out of the box, especially with the HiBy R4, there was a noticeable softening of edge on cymbals and percussive details. This was neither veiled nor dull, just carefully tuned to avoid fatigue. Tracks like We Can Make the World Stop or Transformers Theme didn’t pierce or shimmer in an exaggerated way — instead, they remained digestible, making them perfect for longer listening sessions.
That said, this doesn’t mean detail is lacking. With the right source and tips, elements like hi-hats and background synths retain clarity and space. In Whiskey in the Jar, cymbals were distinct, not smeared, and in Tom Sawyer, the air between instruments was clean and dynamic. But if you’re looking for that crystal-sharp treble sparkle, you might feel the NA20 plays it a bit safe. Personally, I appreciated this treble tuning — especially when paired with more emotional or vintage recordings — as it leans into musical comfort rather than chasing analytical extremes.
Device Varieted Impressions
Echo Mini + NA20 — NOS Mode, Low Gain
To test musicality, I switched the Echo Mini into NOS mode and set it to low gain. Right from the first track, I noticed how the R4’s treble energy was missing — in a good way. Dire Straits flowed beautifully, and the soundstage felt naturally wide, even with live recordings. Other rock bands followed suit: dynamics remained intact, everything moved effortlessly, and nothing ever felt harsh or peaky. For once, I could just sit back and enjoy the music without dissecting it. And when you think about it — pairing these two gives you a sub-200-dollar, under-100-gram portable jukebox. Kind of a sweet idea.
And yes, hearing Cem Karaca on this setup was something special. The vocal crispness was softened just enough, and the emotional peaks in the song were smoothed out — but not dulled. In Bidanem, when I bumped the volume to 60/120, his voice lit up with a kind of dramatic energy I hadn’t expected. Despite some treble compression, the instrumental layers — those old-school Turkish strings and percussion from the ’60s — came through with beautiful clarity. Karaca’s desperate and soulful vibrato hit me right in the chest.
Then came a deep cut from my teenage years — Sentenced – Drain Me Darling. It caught me completely off guard. The crisp vocal edge, the solid rock backbone, and those gloomy chord shifts—flowing from one minor key to another—brought back that bittersweet melancholy I remember so well. A perfect end to the session. And just before I wrapped up—MĂĽslĂĽm GĂĽrses. That one-of-a-kind, gravelly voice layered with strings, brass, and percussion was something else. It genuinely felt like he was singing straight to me. An unforgettable moment.
iPhone 14 Pro Max + Apple Dongle + NFACOUS NA20
I started this session with Pera – Sevgilim İyi Ki Doğdun, a track that holds a special place in my heart. With Apple Music and stock tuning, this pairing instantly clicked. The vocalist — normally a bit harsh and raspy — came through more smoothed-out here, but without losing the emotional rawness.
For a change of pace, I switched to Pendulum – Propane Nightmares (Live). The thrill of organic drum’n bass was definitely present. Though I couldn’t quite catch the little trios of synth stabs, I didn’t mind much. The NA20 isn’t trying to show off or overwhelm with detail — it just vibes naturally with the track. A mutual understanding, you could say.
Lastly, I closed the session with Rush – Tom Sawyer — a sonic playground perfect for testing. The superior recording quality and the full-spectrum composition let the NFACOUS NA20 flex its strengths. I could almost see a live equalizer graph in my mind, dancing with every frequency shift. As instruments stepped forward and receded, the stage stayed vibrant, dynamic, and impressively alive. Like a miniature music festival in my ears.
LG V30+ + NFACOUS NA2020 — Old Favorite, Slightly Faded
After testing multiple sources, I returned to the LG V30+ — this time with the quad DAC mode enabled. The sound certainly became more dramatic, but also felt a bit constrained, almost like it was being pressed in from the sides. This used to be one of my all-time favorites, but now… I think it’s time for retirement. Still, if you’ve never heard anything better, it’s absolutely serviceable and still miles ahead of basic sources.
Right now I’m listening to Dire Straits – Live in Hammersmith, and it walks the line between monitor precision and musical enjoyment. I can hear the crowd’s excited whistles from behind my right shoulder. The keyboard sits in the back of the stage, and when the tempo picks up — with the crowd clapping along — the band surges forward, closing the performance with an energetic, audience-backed finale.
There’s definitely transparency in this playback, but body? Not quite enough.
Divinus WB Velvet Eartips + NFACOUS NA20 — Texture Unleashed
From the very beginning of Riverside – #Addicted, everything feels organic — like I’m right there in the room. I can physically feel the low-end vibrations pulsing through me, as if I’m wearing a 20mm over-ear headphone instead of an IEM. Once the intro ends and the band kicks in, it’s like the stage materializes in front of me.
Gotan Project – Domingo is where things get really interesting. Down below, you get thick, rhythmic pulses; up top, the accordion and strings dance in that unmistakable neo-tango flavor. And in this studio recording, I could hear how these tips — clearly inspired by horn-loaded speaker design — shape and distribute the sound in a way that blends beautifully with NFACOUS NA20’s tuning.
Then Gnarls Barkley enters, and suddenly it becomes obvious why these tips are called “Velvet.” There’s still that three-dimensional spread, but now the vocals have a kind of textured soul — like they’ve gained a new character. Finally, I switched to Mutemath – Transformers Theme. Here, I could hear the slight mismatch between the elegance of the Velvet eartips and the raw nature of a rock track — almost like two personalities that admire each other, but can’t fully connect.
Pros
• Natural, warm, musical tonality
• Smooth, forgiving treble — great for long sessions
• Strong technical base from the MC2L-100M driver
• Excellent soundstage width with proper depth
• Emotionally honest midrange — especially vocals
• Lightweight, ergonomic shell design
• Clearly responsive to source and eartip pairing
Cons
• Needs correct eartips to avoid lean bass
• May feel too safe or tame for treble-focused listeners
• Stock cable doesn’t include a balanced option
• Slightly compressed feel on legacy sources like LG V30+
• Not the best for extreme technicality chasers
Conclusion of NFACOUS NA20 Review
The NFACOUS NA2020 is one of those IEMs that doesn’t shout for attention — it earns it. At first, I nearly misjudged it, but with the right pairing, it unfolded into a deeply satisfying, musically rich experience. It doesn’t try to be ultra-detailed or analytical — instead, it leans into honest tone, soulful delivery, and long-term comfort. In an era of over-tuned, aggressive chi-fi, this relaxed, thoughtful tuning feels almost rebellious. If musical connection matters more to you than frequency graph perfection, this little gem might be just what you’ve been waiting for.
